This grant gave me more than memories; it gave me a crucial experience that is formative to all writers: the ability to perceive that we become writers in exile, where what we write is the only link across distance and time…I became a Maryland writer because the community of Juneau took me in.

My own work has been influenced by my years of teaching in that it's very hard for me to be cynical. When you're working with emerging, brilliant talent, you have to believe in the future. It makes me hungry, as a 65-year-old. I'm not thinking about the time that is behind me. I'm thinking of these people that I watch to catch up with and be in their company.

Theater is perhaps one of the few places left where we are in a dialogue right now. Everything has become so partisan, and the rhetoric has become so heated, that conversation is almost impossible.

Art is the writer not having control, but the subject having control of the writer.

Playwriting isn't a calling so much as it is a hazing process.

This grant gave me more than memories; it gave me a crucial experience that is formative to all writers: the ability to perceive that we become writers in exile, where what we write is the only link across distance and time…I became a Maryland writer because the community of Juneau took me in.

My writing isn't actually guided by issues. I know it seems that way, but I don't sit down and think, Oh, there's this issue I'm bothered about. I only write about things that directly impact my life. When I write, there's a pain that I have to reach, and a release I have to work toward for myself. So it's really a question of the particular emotional circumstance that I want to express, a character that appears, a moment in time, and then I write the play backwards.